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Body & Form

...ethnography of the sensory, landscapes and built-forms

Location: we are international
Members: 37
Latest Activity: Sep 21, 2014

I wanted to send a shout to all the new members, welcoming them all to this small forum and the increasingly dynamic OAC site. I would encourage them to contribute (actually that goes for all the older members aswell). If any of you are interested in knowing about and forging the direction anthropology will be taking in the upcoming years -I encourage you to consider getting involved in the EASA conference this coming summer. I've posted some materials under the 'Tallinn 2014' group on the OAC frontpage for those who want more information -a full description can be found on the easa site itself. abrazos, j

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1 ~ Body, Form & Landscape ... 1 Reply

The concept of landscape...puts emphasis on form, in just the same way that the concept of the body emphasizes the form rather than the function of a living creature. If the body is the form in which…Continue

Started by juan rojas. Last reply by Ximena Alarcon Apr 3, 2012.

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Comment by Jonathan Skinner on October 25, 2011 at 7:04am
Call for Papers: "Hesitation and uncertainty in bodily practice" (W122)

EASA2012: Uncertainty and disquiet
Nanterre University, France, 10/07/2012 – 13/07/2012

Convenors:

Eleni Bizas (University of St Andrews)
Jonathan Skinner (Queen's University Belfast)

Short Abstract

This panel focuses on the nature of hesitation and uncertainty in bodily practice. We wish to interrogate these turning-point moments in the learning, the doing, and the observing of dance and other forms. How too might a refined understanding of these moments and their conceptualisation assist with the more general anthropological enterprise?

Abstract

Hesitation, moments of uncertainty, and accidental events are part of a dancer's experience in learning, doing and performing dance. In dance traditions, such in-between moments communicate, do, and symbolize differently and need to be approached appropriately by participants and researchers alike.

A hesitation is perhaps a particular moment of being, a defining pause or lull to becoming. A hesitation might be accidental - suggesting a cognitive and/or corporeal uncertainty about movements. The accidental in an otherwise scripted performance may be ignored or appropriated, perhaps signaling the performers' confidence, creativity and artistic authorship. Hesitation can also be instrumental. It may be performed to introduce one's solo so as to communicate improvisation to the audience. Unscripted moments may also be part of a performance, to allow for individual or group expression. The ambiguity of hesitation in a performance might challenge the expectations of an artistic community. The audience as well as the performers - and apprentice anthropologist - may experience insecurity in the inbetweeness of the hesitation. However, whereas uncertainty in one's dancing can indicate the degree of familiarity with the 'rules of the game', insecurity signals a 'break' with one's habitus while highlighting the aesthetic values of, say, an unfamiliar dance.

This panel focuses on the nature of hesitation and uncertainty in bodily practice. We wish to interrogate these turning-point moments in the learning, the doing, and the observing of dance and other forms. How too might a refined understanding of these moments and their conceptualisation assist with the more general anthropological enterprise?

The call for papers is now open and will close on November 28. To propose a paper you can do so at:

http://www.nomadit.co.uk/easa/easa2012/panels.php5?PanelID=1026
Comment by Karole Mazeika on April 13, 2012 at 11:02pm

Great concept.  I'm a sucker for cross-pollination. A little too broad a mission statement for what they are actually showing and would be more successful if they were to narrow their focus.  Name made me laugh - apologist.

Comment by Elizabeth Rodrigues da Costa on April 15, 2012 at 3:55pm

 

 

O culto de Oxossi do reino de Ketu (África) foi o primeiro que foi implantado no Candomblé da Barroquinha (Salvador- Bahia- Brasil). Segundo Renato da Silveira, Oxossi, ou Odé, o orixá dos caçadores em toda a região jeje-nagô, também chamado de Ibualama, foi tornado o onilê, o “senhor da terra” aqui, “indicando que ele é o orixá mais antigo cultuado na Bahia” (2006:384). Odé Oni Popô, antigo, também na região de Ketu e Shabé (2006:386), tem sua morada no candomblé da Casa Branca. A sua saudação Okê Arô, Oké Odé, Oké Oxossi saúda a divindade e os descendentes. Há um momento, na festa de Oxum da Iyalorixá[1], a última do ciclo anual, em que se faz uma considerável referência ao sentimento de pertencimento a essa nação implantada aqui, com grande manifestação de alegria, cânticos, saudações e gestos de reverência no momento que a música (chamada por algumas pessoas de hino de Alaketu) é tocada e cantada. Muitos ficam ajoelhados, tocam o chão e levam a mão à testa e em volta da cabeça, e todos cantam (em ioruba), ou tentam cantar, enquanto lá fora espocam foguetes.

 

Nas sociedades tradicionais de onde vieram esses africanos, “a administração da aliança sacramentada entre a comunidade e as forças telúricas e cósmicas era um dos fundamentos da vida social”, nos conta Renato da Silveira, e diz que “por isso uma gameleira foi plantada na Barroquinha, quando da fundação do axé, e dois pés de biriba quando da fundação do Terreiro de Alaketu (2006: 523). Podemos ver que o espaço começa com uma demarcação mítica. Essa configuração rítmica do espaço, a sua arquitetura, inaugura uma disposição que se transpõe para outras dimensões e fatores. A organização deste foi um fator definitivo para a formação do sistema religioso e possui uma significância na implantação da cultura, no estabelecimento da hierarquia e das diferentes posições sociais.



[1] Assistido, em 1991, no dia da festa de Oxum de Mãe Tatá (Altamira Cecília dos Santos, atual mãe-de-santo deste Terreiro.

Referência Bibliográfica

Silveira, Renato. "O candomblé da Barroquinha" Salvador, Edições Maianga, 2006

 

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